The play “Mama’s Girls” by Marilynn Barnes Anselmi opens with two siblings in fraught play with Barbie dolls. Though symbols for conventional gender norms, the dolls’ are smooth between their legs, a revelation to Sammy, the emerging trans girl who both catalyzes and suffers from her family’s toxic dynamic.
Anyone who says ballet-based modern dance doesn’t go with hip hop has been proven entirely wrong by Wellspring Cori Terry & Dancers’ Spring Concert of Dance, Seeing/Seen, a collaborative performance that breaks down both real and perceived boundaries from start to finish and beyond.
The inhuman experiences of the 20,000 children orphaned and traumatized by civil war that began in the late 1980s known as the Lost Boys of Sudan have been documented by journalists, documentarians and novelists, among others; yet their incredibly harrowing journeys and often triumphant stories deserve greater attention.
Disney’s The Lion King, billed as the world’s number one musical, is credited with having launched the new Broadway, the one that’s emerged over the past 20 years from a tourist- and family-friendly Times Square, cleaned up of grit, and some may argue, heart.
In the original iteration of “The Queen of Bingo,” known as “the play you play along with” by Jeanne Michels and Phyllis Murphy, its central characters, two middle-aged, bingo-obsessed sisters, were played by men in drag. This is but one way the audience played along, as intermission also included a bingo game for which the winner received a 10-pound turkey.
Imagine you are brought to a mysterious room by someone you don’t know. You don’t know where you are, and there are two other people with you.
In 2001, the United States resettled 3,600 “lost boys” in cities across the country. Ten years earlier, these boys had walked 800 miles from Sudan to escape civil war, landing in Kenya. There, many of the boys ate nothing but grain every day.
Aquinas College’s free reading of Columbinus is, of course, a direct response to the recent school shooting at Stoneman Douglas High School in Parkland, Fla.
Dance has the power to interpret and recreate worlds of experience without explaining or intellectualizing. Without words, it invites us into an experience through the universal language of the body, of movement. When done well, that experience is transcendent, and elicits an emotional response born of communal creation as well as private connection.
A conversation was sparked after the first production of “Building the Wall” by playwright Robert Schenkkan premiered in Michigan last night. The 70-minute-play, directed by Carrie McNulty, has already sparked controversy and confusion in the city with its artwork of an angry Donald Trump on the poster. What’s important to be pointed out though, is that the Actors’ Theatre Grand Rapids production is less about Trump and more about the messages and ideologies that existed long before the last election.
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